Michael Longley

Stairwell

Slain Birds

Alice Oswald

Seamus Heaney

Kathleen Jamie

Richard Murphy

Robert MacFarlane

Derek Mahon

Sinéad Morrisey

Andrew McNellie

Deirdre Chonghaile

Archipelago Anthology

"Michael Longley has been called 'one of the finest lyric poets of our time'. In assembling the work of forty years, his Collected Poems displays a brilliantly sustained achievement, whose depth, beauty and wit can now be fully appreciated. Longley's poetry combines intense concentration with remarkable variety. The formal and thematic range laid down in No Continuing City (1969) has undergone a series of rich metamorphoses up to Snow Water (2004), and the two new poems included here as an epilogue. Longley's genres span love poetry, war poetry, nature poetry, elegies, satires, verse epistles, poems that reflect on art and the art of poetry. He has extended the capacity of the lyric to absorb dark matter: the Great War, the Holocaust, the Northern Irish 'Troubles'. His poetic landscape intermingles Belfast (where he lives), western Ireland, Italy, Japan and Homeric Greece. Longley's superb translations from classical poets (such as 'Ceasefire', which greets the IRA ceasefire in terms of the Iliad) speak to contemporary issues."

Collected Poems

A collection of poetry from the Irish poet whose last book "Gorse Fires" won the Whitbread Prize for Poetry. Whether writing about Sissinghurst, Japan, Buchenwald or Belfast, Longley speaks with delicacy and passion about love and loss, life and death. This is a limited edition of 100.

The Ghost Orchid

Celebrated for his lyrical intensity, his metaphysical wit, his thematic and formal range, Michael Longley is widely regarded as one of the finest poets in these islands. His life in Northern Ireland has contributed to the complexity of a poetic universe in which love, friendship and aesthetics contend with war, death and violance. There are no hard boundaries between Longley's love poetry, his nature poetry, his war poetry and his elegies. Longley looks to the poets of Greece and Rome, particularly Homer and Ovid, and to the poets of the two world wars. His great ability, perhaps, has been to distil the large and difficult themes into highly concentrated forms. This is Michael Longley's own selection from thirty years of writing; it reveals the strength and coherence of an extraordinary body of work.

Selected Poems

In assembling the work of forty years, Longley's Collected Poems displays a brilliantly sustained achievement, whose depth, beauty, and wit can now be fully appreciated. Longley's poetry combines intense concentration with remarkable variety. The formal and thematic range laid down in No Continuing City (1969) has undergone a series of rich metamorphoses up to Snow Water (2004), and the two new poems included here as an epilogue. Longley's genres span love poetry, war poetry, nature poetry, elegies, satires, verse epistles, poems that reflect on art and the art of poetry. He has extended the capacity of the lyric to absorb dark matter: the Great War, the Holocaust, the Northern Irish Troubles. His poetic landscape intermingles Belfast (where he lives), western Ireland, Italy, Japan and Homeric Greece. Longley's superb translations from classical poets (such as "Ceasefire," which greets the IRA ceasefire in terms of The Iliad) speak to contemporary issues while activating the deepest sources of European poetry.

Iain Crichton Smith

Barry Tebb

Iain Crichton Smith, Barry Tebb, Michael Longley

Three Regional Voices

A Guardian / Herald Scotland Book of the Year Winner of the 2017 PEN Pinter prize Shortlisted for the 2017 Forward Prize A remote townland in County Mayo, Carrigskeewaun has been for nearly fifty years Michael Longley’s home-from-home, his soul-landscape. Its lakes and mountains, wild animals and flowers, its moody seas and skies have for decades lit up his poetry. Now they overflow into Angel Hill, his exuberant new collection. In addition, Longley has been exploring Lochalsh in the Western Highlands where his daughter the painter Sarah Longley now lives with her family. She has opened up for him her own soul-landscape with its peculiar shapes and intense colours. In Angel Hill the imaginations of poet and painter intermingle and two exacting wildernesses productively overlap. Love poems and elegies and heart-rending reflections on the Great War and the Northern Irish Troubles add further weight to Michael Longley’s outstanding eleventh collection. Angel Hill will undoubtedly delight this great poet’s many admirers.

Angel Hill

Fran Brearton

Incorrigibly Plural celebrates the diversity and vitality of Louis MacNeice's writing. Poets and critics illuminate the work of a writer whose achievement and influence is increasingly recognised as central to modern poetry in English. Contributions include responses to MacNeice by poets such as Paul Farley, Leontia Flynn, Nick Laird, Derek Mahon, Glyn Maxwell and Paul Muldoon; discussions by critics such as Neil Corcoran, Valentine Cunningham, Hugh Haughton, Peter McDonald and Clair Wills; and more biographical accounts, including a memoir by MacNeice's son, the late Dan MacNeice. For each of them, MacNeice remains a continuing presence for his insight into the mechanisms of the modern world, his complex political awareness, his ability to bring the historical moment alive. Above all, what emerges is pleasure in MacNeice's plurality of language and forms. More than a retrospective work of criticism, Incorrigibly Plural belongs to live debates about contemporary poetry.

Louis MacNeice and His Legacy

Incorrigibly Plural

Winner of the 2015 Griffin Poetry Prize Shortlisted for the 2014 T.S. Eliot Prize In The Stairwell, his tenth collection, Michael Longley’s themes and forms reach a new intensity. The second part of the book is a powerful sequence of elegies for his twin brother, Peter, and the dominant mood elsewhere is elegiac. The title poem begins: ‘I have been thinking about the music for my funeral ...’ The two parts are also linked by Homer. Longley is well-known for his Homeric versions, and the Iliad is a presiding presence – both in poems about the Great War and in the range of imagery that gives his twin’s death a mythic dimension. Yet funeral music can be life-affirming. Longley has built this collection on intricate doublings, not only when he explores the tensions of twinship. The psychologically suggestive word ‘stairwell’ is itself an ambiguous compound. These poems encompass birth as well as death, childhood and age, nature and art, the animal and human worlds, tenderness and violence, battlefield and ‘homeland’. The Stairwell is a richly textured, immensely moving work. Michael Longley has the rare ability to fuse emotional depth with complicated artistry: to make them, somehow, the same thing.

The Stairwell

The poems in this volume vary widely in length, subject, and setting (from Mayo, to Tuscany, to Japan). With a Zen-like grace, even the briefest poems hurdle logical gaps and sidestep reason to get to truths. The poet s acute vision is directed outward, and we know him only through the light he casts on the world s things as he holds them in loving, elegiac frames. Winner of the Irish Times Irish Literature Prize for Poetry, 2001; Winner of the T. S. Eliot Poetry Prize, 2001; Winner of the Hawthornden Prize, 2000."

The Weather in Japan

Autobiographical Chapters

Tuppenny Stung

Michael Hofmann

Robin Robertson

Robin Robertson, Michael Hofmann, Michael Longley

‘I can’t bear the thought of a world without Michael Longley, yet his poetry keeps hurtling towards that fact more and more urgently as it stretches in an unflinching way beyond comfort or certainty.’ So wrote Maria Johnston, reviewing Longley’s previous book Angel Hill. Yet The Candlelight Master does not only face into shadows. The title poem sums up the chiaroscuro of this collection, named after a mysterious Baroque painter. Other poems about painters – Matisse, Bonnard – imply that age makes the quest for artistic perfection all the more vital. A poem addressed to the eighth-century Japanese poet, Otomo Yakamochi, says: ‘We gaze on our soul-landscapes / More intensely with every year.’ The soul-landscape of The Candlelight Master is often a landscape of memory. But if Longley looks back over formative experiences, and over the forms he has given them, he channels memory into freshly fluid structures. His new poems about war and the Holocaust speak to our own dark times. Translation brings dead poets up to date too. The bawdy of Catullus becomes Scots ‘Hochmagandy’. Yakamochi and the lyric poets of Ancient Greece find themselves at home in Longley’s Carrigskeewaun.

Michael Longley

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